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A parallel text and translation with.detailed analysis of the poem's literary and historical context and its relevance to sexuality, gender and the female body.
The Medicamina Faciei Femineae is a didactic elegy that showcases an early example of Ovid's trademark combination of poetic instruction and trivial subject matter. Exploring female beauty and cosmeceuticals, with particular emphasis on the concept of cultus, the poem presents five practical recipes for treatments for Roman women. Covering both didactic parody and pharmacological reality, this deceptively complex poem possesses wit and vivacity and provides an important insight into Roman social mores and day-to-day activities. The first full study in English devoted to this little-researched but multi-faceted poem, Ovid on Cosmetics includes an introduction that situates the poem within its literary heritage of didactic and elegiac poetry, its place in Ovid's oeuvre and its relevance to social values, personal aesthetics and attitudes to female beauty in Roman society. The Latin text is presented on parallel pages alongside a new translation, and all Latin words and phrases are translated for the non-specialist reader. Detailed commentary notes elucidate the text and individual phrases still further. Ovid on Cosmetics presents and explicates this witty, subversive yet significant poem. Its attention to the technicalities of cosmeceuticals and cosmetics, including detailed analyses of individual ingredients and the effects of specific creams and makeup, make this work a significant contribution to the beauty industry in antiquity.
This is a full-scale commentary devoted to the third book of Ovid's Ars Amatoria. It includes an Introduction, a revision of E. J. Kenney's Oxford text of the book, and detailed line-by-line and section-by-section commentary on the language and ideas of the text. Combining traditional philological scholarship with some of the concerns of more recent critics, both Introduction and commentary place particular emphasis on: the language of the text; the relationship of the book to the didactic, 'erotodidactic' and elegiac traditions; Ovid's usurpation of the lena's traditional role of erotic instructor of women; the poet's handling of the controversial subjects of cosmetics and personal adornment; and the literary and political significances of Ovid's unexpected emphasis in the text of Ars III on restraint and 'moderation'. The book will be of interest to all postgraduates and scholars working on Augustan poetry.
In a pioneering work the author draws on literary, non-literary, visual and archaeological evidence to show the importance of cosmetics and perfumes for health, ideas of beauty, social status, as a demonstration of wealth and luxury, and as an expression of gender.
This collection of essays, unquestionably a first of its kind, examines the challenges of translating Ovid into Chinese and the emerging role Ovid’s poetry has played in Chinese culture, including material culture and comparative studies in a wide international context.
"Vivam" is the very last word of Ovid's masterpiece, the Metamorphoses: "I shall live." If we're still reading it two millennia after Ovid's death, this is by definition a remarkably accurate prophecy. Ovid was not the only ancient author with aspirations to be read for eternity, but no poet of the Greco-Roman world has had a deeper or more lasting impact on subsequent literature and art than he can claim. In the present day no Greek or Roman poet is as accessible, to artists, writers, or the general reader: Ovid's voice remains a compellingly contemporary one, as modern as it seemed to his contemporaries in Augustan Rome. But Ovid was also a man of his time, his own story fatally entwined with that of the first emperor Augustus, and the poetry he wrote channels in its own way the cultural and political upheavals of the contemporary city, its public life, sexual mores, religion, and urban landscape, while also exploiting the superbly rich store of poetic convention that Greek literature and his Roman predecessors had bequeathed to him. This Very Short Introduction explains Ovid's background, social and literary, and introduces his poetry, on love, metamorphosis, Roman festivals, and his own exile, a restlessly innovative oeuvre driven by the irrepressible ingenium or wit for which he was famous. Llewelyn Morgan also explores Ovid's immense influence on later literature and art, spanning from Shakespeare to Bernini. Throughout, Ovid's poetry is revealed as enduringly scintillating, his personal story compelling, and the issues his life and poetry raise of continuing relevance and interest. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.
This series of short incisive books introduces major figures of the ancient world to the modern general reader, including the essentials of each subject's life, works, and significance for later western civilisation. In the newly created tradition of the "Ancients in Action" series, Marguerite Johnson has written a fascinating and accessible account of what remains of the life and works of the Greek poet, Sappho. Sappho's ancient biography is covered in addition to the post-classical accounts of her life, which continue to appear, in a variety of creative and non-creative contexts, in contemporary literature and art. Sappho's poetry, essentially preserved in tantalising fragments, is discussed in a series of thematic chapters that include her religious writings, particularly directed to the goddess of love, Aphrodite; personal interpretations of mythological themes; marriage hymns; and love songs to female companions.